Hi Michael,

I'm confident if any of the experts here looked at this they will find issues. Question is - is it good enough to mill? So, here is the close up of the mesh - as you suggested. Being a beginner I don't know how to read this - is it OK? Or do should it be done over?

thanks,

Neil

Hi Neil - on that meshing options dialog that pops up, push he expander arrow in the lower left corner and set it to Display: Shaded so you don't have the polygon mesh edges getting in the way. Then you can zoom in to that area and examine it more closely.


> Question is - is it good enough to mill?

It depends on how you're milling it and what your own requirements are. It's pretty likely to be fine though.

- Michael

"Do models need to be as perfect for woodworking as they do for rendering?"

I'd say no as well. No experience with milling wood, but I have milled metal based on MoI models and also 3D printed MoI models.

You're using a ball nose end mill and some amount of step-over in your tool paths. As you know, that creates tiny scallops in the piece. So by definition the end result is an approximation of the model. Luckily wood is easier to smooth after milling than metal :)

If any concern, you can always test by cutting out the section of interest in your model and mill just that section in scrap wood.

I think your model is fine.

Ed Ferguson

Think this is what you mean - Yes - it looks like a problem as Marco suggested although it is less pronounced when you turn it a little (see second shot) . . . It seems to go in and there are some see-through spots. Would using the iso curve function help?

N

Hi Neil, I can't see any see-through spots in your screenshot. If you could upload the .3dm model file that would make it possible to examine it more closely and try to give you some information on it. The iso curve function is a way to extract curves from a surface, it's not likely to be applicable here.

- Michael

Hi Neil, I received your file through e-mail. It looks fine to me, I'm not sure why you'd be worried about that.

But if you do want a smoother shape where those blend surfaces meet, you can probably get that by using an option in the Blend command for making a curvature continuous blend instead of only a tangent continuous one:



That will make a blend with a higher amount of smoothness where it comes off the other surfaces. It's normal for 2 surfaces that are only tangent continuous to have a kind of slight interruption in reflective highlights. That should likely go away if you use the curvature continuity option though.

- Michael

Hi Michael,

Awesome! Thanks for the clarification. Just thought that area might be a mistake. Looking forward to trying that option you pointed out - very cool program you have here. So hopefully will be posting some pictures of this neck in wood soon. It might be interesting for some to post pictures of the CAM tooling layout. Usually the tooling is done in 2-4 cycles. In this case - one 2D session for the contour (outline of the neck) & tuning key holes and then a 3D session comprised of roughing and finishing of the 3D surface. - N

Hello VEGASGUITARS.

Yes! as Michael suggested a G2 Blend do the trick!

Wonderful job!
Congrats again :)

Huge thanks to all the experts here sharing their advice and ideas - was able to mill a pretty good neck profile out of cherry. Photos and video posted on the thread for tummy and arm contours.

Here is the second round milling a neck profile with the CNC machine. This is a different model - it has a Tele style heel and Strat style headstock. The tool paths are better and machining time is cut in half - this took 45 minutes and an additional 30 to cut it out with the band saw then sand with the random orbital. The methods used for the model are a combination of Jopo's and Barry's. Also the drawing would not be possible without help from quite a few folks here especially Michael. Can't tell you what a relief this machine is going to be - long time coming - it has mostly sat since I built it. Honestly after milling this - almost broke down seeing how smooth the headstock transition turned out . . . :) No more breaking my back and hands with the rasp and spoke shave.

https://youtu.be/fSVgXcwMZwU

Very good!

..I'm wondering how those guitars will play!!

When you have completed the final product, please post some sound samples!!

Saw this go by awhile back. Just finished up and am back on my computer for some undetermined amount of time...

Made a quick video of Barry's model and take. Added a few steps to show how to change the transition rates by extra trimming before the blend. Too much bulge and you'll fold over or wrinkle...

Anyway.....

Cool as usual Burr!
M

Awesome man - thanks for sharing!

Hello,

Been practicing the method Barry posted with the added pointers from BurrMan and am starting to get some nice results. Thanks again for all the great tips and ideas. The necks get better and better thanks to you guys.

Pretty happy with the latest neck for the Riviera and Ione models - the transitions are getting sleeker and more gradual. These are done using a combination of techniques learned here - especially Jopo's. Still have to get better at working with solids. The networked necks are done well enough now to make solid. Looking forward to milling this neck - the top of the neck is not done because it's faster to do the fretboard and headstock face by hand using jigs. Thanks for taking a look. Also many thanks to those who gave a hand with learning the ropes - still not there yet but progress is always encouraging. This is by far the best forum in terms of sharing of information and project assistance I've ever seen. Would imagine that's mainly because the writer of the program is so hands on it's astonishing. Some days it's like everything falls into place - other days I have to shut it down because it seems impossible. Anyone else experience that?

Looking good Neil! Things will continue to get more comfortable as time goes on.

- Michael

If you're building a neck-through or set-neck instrument it's very important to have a detailed cross-sectional drawing or full-size plans for the instrument. The neck angle relative to the instrument's top, and the top's shape or contour along with fingerboard and fret height, must be taken into account and designed to work with the bridge height. If it's your first attempt at a new design, be sure to have the bridge, truss rod and all other hardware nearby. This will let you know the ranges of application for these components, as well as how they will fit together. You must provide adequate access to the truss rod, and the bridge must be adjustable within the intended string height range determined by the neck.

Don't make your truss rod channel too big or too deep, especially in the peghead/volute region. This will weaken the neck, making it susceptible to neck breaks or the truss rod punching its way out the back of the neck.
https://8ballpool.onl/ https://googlehangouts.ooo/ https://omegle.onl/

Thanks much for the input. While new to modeling and CAD/CAM not new to guitar repair or building - that's how I make my living. Started repairing professionally in 98 and built my first guitar around 2006 and have built many guitars and basses since. You can check some of em out here : vegasguitars.com - the slide show on the main page has quite a few guitars and basses - neck through, set necks and bolt-ons.

Thanks again for the suggestions - can always stand to learn new and better ways to do things in even though I'm an old codger. CAD/CAM has been a struggle to learn - but it's beginning to pay off in a big way around the shop.